World Without Tears
| World Without Tears | ||||
|---|---|---|---|---|
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| Studio album by Lucinda Williams | ||||
| Released | April 8, 2003 | |||
| Genre | Rock and roll, roots rock, Americana, alternative, folk rock | |||
| Length | 59:53 | |||
| Label | Lost Highway | |||
| Producer | Mark Howard, Lucinda Williams | |||
| Lucinda Williams chronology | ||||
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| Professional ratings | |
|---|---|
| Review scores | |
| Source | Rating |
| AllMusic |   |
| Blender |  |
| Entertainment Weekly | A |
| Los Angeles Times | |
| Mojo | |
| Q | |
| Rolling Stone | |
| Spin | A |
| Uncut | |
| The Village Voice | A– |
World Without Tears is the seventh studio album by American singer-songwriter Lucinda Williams. It was released on April 8, 2003, by Lost Highway Records. The album was a widespread critical success and sold 415,000 copies by 2008.
World Without Tears was released on April 8, 2003, by Lost Highway Records to widespread critical acclaim. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 87, based on 18 reviews.Spin magazine's Robert Levine believed Williams had returned to "the painful sensuality of the specific" on World Without Tears, while Will Hermes from Entertainment Weekly said the "profoundly carnal" record sounded "noisier and randier" than 2001's Essence.Robert Hilburn deemed it "a rock 'n' roll workout" in his review for the Los Angeles Times, writing that its edgiest songs sounded "close to the raw, disoriented feel" of the Rolling Stones' 1972 album Exile on Main St..entertainment.ie's review called it "dark, sleazy and impeccably rock'n'roll" while declaring Williams was "making some of the most essential roots-rock music around".
According to music essayist Kathryn Jones, World Without Tears found Williams continuing her Americana, alternative, and folk-rock sounds on songs that reflected her life since moving from Nashville to Los Angeles. In The Village Voice, Robert Christgau said while the songs were merely "pretty good" rather than "great", Williams compensated with "lowdown, dirty, smoky" music that relied on grooves and riffs. He compared it to a Sue Foley album but with better lyrics, particularly on "Those Three Days" and "Sweet Side".Rolling Stone journalist Karen Schoemer was less impressed. She praised the music's "gorgeous amalgams of country, blues and Southern rock", but was disappointed in how relentlessly bleak the lyrics were, finding them lacking her past work's "wounded innocence" and "sweetness".
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